The Cambridge Edition of the Correspondence of Samuel Richardson 2 Correspondence with George Cheyne and Thomas Edwards
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A Case for Hard-Heartedness: Clarissa, Indifferency, Impersonality
A Case for Hard-heartedness: Clarissa, Indifferency, Impersonality Wendy Anne Lee !"#$%!&$ Reading Clarissa’s hard-heartedness through the lens of indif- fer ency clari!es what is at stake in her still-puzzling and multi- layered defection. "e phenomenon of hard-heartedness in Samuel Richardson’s Clarissa is here re-evaluated through John Locke’s concept of “indi#er ency” and through contemporary theories of impersonality. Beginning with an account of the novel’s reception in which readers were unnerved by Clarissa’s refusal to marry her rapist, I locate an important counter-response in Anna Laetitia Barbauld, who valued precisely the quality of impassivity in Richardson’s heroine. In eighteenth-century thought, a similar form of disen gagement is articulated by Locke’s notion of indi#erency, an impartiality that risks alienation for the sake of understanding and autonomy. By featuring an im personal Clarissa, I show how the novel’s theory of character, in which a hidden interiority under writes personhood, contains its own critique of a depth- model of psychology. I conclude by examin ing a phase of Clarissa’s narrative not o$en discussed: her life as an urban rape sur vivor, an incarnation that o#ers the most chal leng ing as well as the most promising possibilities for the impersonal person in the novel. !'$()% Wendy Anne Lee is an assistant professor in the English Depart- ment at Yale University. Her book in progress is called “Failures of Feeling: Insensibility and the Novel.” Eighteenth-Century Fiction 26, no. 1 (Fall 2013) ECF -
Tennyson's Poems
Tennyson’s Poems New Textual Parallels R. H. WINNICK To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/944 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. TENNYSON’S POEMS: NEW TEXTUAL PARALLELS Tennyson’s Poems: New Textual Parallels R. H. Winnick https://www.openbookpublishers.com Copyright © 2019 by R. H. Winnick This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work provided that attribution is made to the author (but not in any way which suggests that the author endorses you or your use of the work). Attribution should include the following information: R. H. Winnick, Tennyson’s Poems: New Textual Parallels. Cambridge, UK: Open Book Publishers, 2019. https://doi.org/10.11647/OBP.0161 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/944#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/944#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. -
Pamela, Anti-Pamela, and the Tradition of Women's Amatory Fiction
NTU Studies in Language and Literature 107 Number 21 (June 2009), 107-144 Influence or “Influenza”? Pamela, Anti-Pamela, and the Tradition of Women’s Amatory Fiction Jing-fen Su Ph. D. Student, Graduate Institute of Foreign Languages and Literatures National Taiwan University ABSTRACT The publication of Samuel Richardson’s Pamela in November 1740 was an immediate success, and the frenzy over the immensely popular novel quickly developed into an unprecedented sensational event commonly called “the Pamela controversy.” Among the very first literary responses to the Pamela vogue are Henry Fielding’s Shamela (April 1741) and Eliza Haywood’s Anti-Pamela (June 1741), published within less than two months from each other. A closer look at the three novels, however, reveals that Haywood’s Anti-Pamela is curiously closer in style to Richardson’s Pamela than to Fielding’s Shamela, despite the fact that both Fielding and Haywood aim at attacking Richardson with their parodic novels. As one of the first attempts to deal with the intertextual influences between Richardson’s Pamela and Haywood’s much neglected work Anti-Pamela, in this essay I argue that the similarity in style between the two texts comes not from Haywood’s imitating Richardson, but rather from Richardson’s incorporating elements from the tradition of women’s amatory fiction, of which Haywood’s works in the 1720s constitute a significant part. In other words, despite his consistent disparagement of such writings by women as “influenza,” Richardson’s text betrays his indebtedness to Haywood, and in composing Anti-Pamela, Haywood does not depart much from her earlier novelistic style, thus leading to the false impression that Haywood is following Richardson in style. -
BUCKINGHAMSHIRE POSSE COMITATUS 1798 the Posse Comitatus, P
THE BUCKINGHAMSHIRE POSSE COMITATUS 1798 The Posse Comitatus, p. 632 THE BUCKINGHAMSHIRE POSSE COMITATUS 1798 IAN F. W. BECKETT BUCKINGHAMSHIRE RECORD SOCIETY No. 22 MCMLXXXV Copyright ~,' 1985 by the Buckinghamshire Record Society ISBN 0 801198 18 8 This volume is dedicated to Professor A. C. Chibnall TYPESET BY QUADRASET LIMITED, MIDSOMER NORTON, BATH, AVON PRINTED IN GREAT BRITAIN BY ANTONY ROWE LIMITED, CHIPPENHAM, WILTSHIRE FOR THE BUCKINGHAMSHIRE RECORD SOCIETY CONTENTS Acknowledgments p,'lge vi Abbreviations vi Introduction vii Tables 1 Variations in the Totals for the Buckinghamshire Posse Comitatus xxi 2 Totals for Each Hundred xxi 3-26 List of Occupations or Status xxii 27 Occupational Totals xxvi 28 The 1801 Census xxvii Note on Editorial Method xxviii Glossary xxviii THE POSSE COMITATUS 1 Appendixes 1 Surviving Partial Returns for Other Counties 363 2 A Note on Local Military Records 365 Index of Names 369 Index of Places 435 ACKNOWLEDGMENTS The editor gratefully acknowledges the considerable assistance of Mr Hugh Hanley and his staff at the Buckinghamshire County Record Office in the preparation of this edition of the Posse Comitatus for publication. Mr Hanley was also kind enough to make a number of valuable suggestions on the first draft of the introduction which also benefited from the ideas (albeit on their part unknowingly) of Dr J. Broad of the North East London Polytechnic and Dr D. R. Mills of the Open University whose lectures on Bucks village society at Stowe School in April 1982 proved immensely illuminating. None of the above, of course, bear any responsibility for any errors of interpretation on my part. -
Microfilms Internationa! 300 N
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. -
Pamela: Or, Virtue Reworded: the Texts, Paratexts, and Revisions That Redefine Samuel Richardson’S Pamela
Marquette University e-Publications@Marquette Dissertations (2009 -) Dissertations, Theses, and Professional Projects Pamela: Or, Virtue Reworded: The exT ts, Paratexts, and Revisions that Redefine aS muel Richardson's Pamela Jarrod Hurlbert Marquette University Recommended Citation Hurlbert, Jarrod, "Pamela: Or, Virtue Reworded: The exT ts, Paratexts, and Revisions that Redefine aS muel Richardson's Pamela" (2012). Dissertations (2009 -). Paper 194. http://epublications.marquette.edu/dissertations_mu/194 PAMELA: OR, VIRTUE REWORDED: THE TEXTS, PARATEXTS, AND REVISIONS THAT REDEFINE SAMUEL RICHARDSON’S PAMELA by Jarrod Hurlbert, B.A., M.A. A Dissertation submitted to the Faculty of the Graduate School, Marquette University, in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Milwaukee, Wisconsin May 2012 ABSTRACT PAMELA: OR, VIRTUE REWORDED: THE TEXTS, PARATEXTS, AND REVISIONS THAT REDEFINE SAMUEL RICHARDSON’S PAMELA Jarrod Hurlbert, B.A., M.A. Marquette University, 2012 This dissertation is a study of the revisions Samuel Richardson made to his first novel, Pamela, and its sequel, Pamela in Her Exalted Condition, published within his lifetime. Richardson, who was his own printer, revised Pamela eight times over twenty years, the sequel three times, and the majority of the variants have hitherto suffered from critical neglect. Because it is well known that Richardson responded to friendly and antagonistic “collaborators” by making emendations, I also examine the extant documents that played a role in Pamela’s development, including Richardson’s correspondence and contemporary criticisms of the novel. Pamela Reworded, then, is an explanation, exhibition, and interpretation of what Richardson revised, why he revised, and, more importantly, how the revisions affect one’s understanding of the novel and its characters. -
Eliza Haywood and the Erotics of Reading in Samuel Richardson's Clarissa Kate Williams
Document generated on 09/24/2021 9:07 p.m. Lumen Selected Proceedings from the Canadian Society for Eighteenth-Century Studies Travaux choisis de la Société canadienne d'étude du dix-huitième siècle 'The Force of Language, and the Sweets of Love': Eliza Haywood and the Erotics of Reading in Samuel Richardson's Clarissa Kate Williams Volume 23, 2004 URI: https://id.erudit.org/iderudit/1012201ar DOI: https://doi.org/10.7202/1012201ar See table of contents Publisher(s) Canadian Society for Eighteenth-Century Studies / Société canadienne d'étude du dix-huitième siècle ISSN 1209-3696 (print) 1927-8284 (digital) Explore this journal Cite this article Williams, K. (2004). 'The Force of Language, and the Sweets of Love': Eliza Haywood and the Erotics of Reading in Samuel Richardson's Clarissa. Lumen, 23, 309–323. https://doi.org/10.7202/1012201ar Copyright © Canadian Society for Eighteenth-Century Studies / Société This document is protected by copyright law. Use of the services of Érudit canadienne d'étude du dix-huitième siècle, 2004 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 17. The Force of Language, and the Sweets of Love': Eliza Haywood and the Erotics of Reading in Samuel Richardson's Clarissa1 Declarations that fiction possessed the power to arouse the reader into a form of sexual pleasure permeated the marketing of the early eight• eenth-century novel. -
A Spatial History of English Novels 1680-1770
A Spatial History of English Novels 1680-1770 Dissertation Presented in Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mary Jo Crone-Romanovski, M. A. English The Ohio State University 2010 Dissertation Committee: Roxann Wheeler, Advisor Frank Donoghue David Brewer Copyright by Mary Jo Crone-Romanovski 2010 Abstract This dissertation provides a spatial history of English novels in the period 1680- 1770. Demonstrating that space is a dynamic source of narrative, I argue that spaces are crucial to the development of new types of novels. Re-organizing novel history according to space allows me to consider eighteenth-century novel types as standalone genres rather than progressive steps toward the formation of the novel as one single, coherent genre. Thus, a spatial history of novels differs from conventional literary histories which situate major novels and authors within a linear model of chronological development and that view eighteenth-century novels as preliminary formal experiments that eventually contribute to the emergence of the nineteenth-century realist novel. Space can register in novels in a number of ways, including geographical distance, topographical location, descriptors of movement, or architectural layout. My study considers, in particular, the spaces that constitute a character‟s immediate physical environment. Each chapter examines a key space as central to a type of novel that flourished during the eighteenth century: gardens in amatory and pious novels, 1680- 1730; staircases, hallways, and closets in the domestic interior in courtship novels of the 1740s; urban homes in mid-century problem marriage novels; and sickrooms in women‟s sentimental novels of the 1750s and 1760s. -
Jew Bill" of 1753: a New Political Context for Sir Charles Grandison
University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Society and Culture 2015 Samuel Richardson and the "Jew Bill" of 1753: A new political context for Sir Charles Grandison Latimer, B http://hdl.handle.net/10026.1/5038 10.1093/res/hgu112 The Review of English Studies Oxford University Press All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. 1 This is an Accepted Manuscript of an article published by Oxford University Press in The Review of English Studies 275: 66 (2015), 520-539 available at: 10.1093/res/hgu112 . Samuel Richardson and the ‘Jew Bill’ of 1753 A new political context for Sir Charles Grandison O merciful God, who hast made all Men, and hatest Nothing that thou hast made, nor wouldest the Death of a Sinner, but rather that he should be converted and live; have Mercy upon all Jews , Turks , Infidels and Hereticks … —Book of Common Prayer Abstract [192 words]: Comment on the religious politics of Samuel Richardson’s The History of Sir Charles Grandison (1753-4) focuses on the text’s Catholic and post- Jacobite aspects. This essay argues that there is a more immediate political context for understanding religious tolerance in the novel: the Jewish Naturalisation Act of 1753. -
© in This Web Service Cambridge University
Cambridge University Press 978-0-521-82285-5 - Samuel Richardson: Correspondence with George Cheyne: Correspondence with Thomas Edwards Edited by David E. Shuttleton and John A. Dussinger Index More information INDEX Ady, Thomas, lx Barnard, Matthew, lxxviii, 312 Akenside, Mark, 378 Baron Hector de Marsay, lii, 175 Allan, James Abreg´ edel’essencedelavraiereligion´ A Short Catechism, xlix–l, 11, 13, 67, Chretienne´ , 172 and n, 173–4, 176 and n 121 Bathurst, Charles, lxii, lxv, 187, 232, 267, Allen, Ralph, xliv, lxvii, 65n, 146 and n, 167n, 283 285, 288, 289, 399 Bedlam, 99 and n, 147 Anderson, Dr Patrick, xlvii Bentley, Richard, 210 Anderson, George, 13 and n Bernard, Mr, 174, 176 Arbuthnot, Archibald, 137n Bertrand, Paul, xlviii, 30 and n, 63, 71, 106, 108, archbishops, bishops and clergy 173 Benson, Martin, 270, 272; Biscoe, Reverend Bible, 133 Richard, 105–6 and n; Burnet, Gilbert, xli, Acts, 211; 1 Corinthians, 100n, 197; 99n; Chandler, Reverend Samuel, Deuteronomy, 164–5 and n; Ephesians, 89–90 and n, 99 and n, 111, 148; Cheyne, 70 and n; Exodus, 99 and n; James, 47n; Reverend William, 135 and n; Cox, Job, 292; John, 186; Judges, 61n; Luke, Reverend Macro, 324; Hales, Reverend 77 and n, 132 and n; Matthew, 58n, 60 and Stephen, 72 and n; Hayter, Thomas, 283, n, 134 and n, 193, 248; New Testament, 287; Herring, Thomas, 188, 192, 195, 196, 99n; Numbers, 358; Psalms, 65–6, 169–70; 200, 219, 225, 234, 236, 258, 283, 304, Romans, 126 and n, 133 and n; Saint Paul, 306, 342, 398, 402, 405, 406; Laud, 100; 2 Samuel, 206; 1 Timothy, 56 and n William, 281–2; Leland, John, D. -
Barbauld's Richardson
Barbauld‟s Richardson and the Canonisation of Personal Character On 4 September 1804, Richard Lovell Edgeworth wrote to Anna Letitia Barbauld to acquaint her with the attention that her recent edition of The Correspondence of Samuel Richardson (1804) had received in the Edgeworth household: We have read the greatest part of Richardson‟s Life and Correspondence. Your criticisms are excellent, and your censures of the indecent passages in your author are highly becoming and highly useful. You have made R[ichardson] appear to great advantage, without using any of the unfaithful arts of an editor. You have shewn, that like other mortals, he had failings; but his enthusiasm for virtue, his generosity, and true politeness of heart and conduct, are brought so distinctly before the eye, that we love the man as much as we admire the author.1 Loving “the man” and admiring “the author” here appear as complementary responses in the Edgeworth family‟s reading experience, a complementarity that is reflected in Richard Edgeworth‟s views on Barbauld‟s literary and biographical criticisms. In Edgeworth‟s reading of the “Life and Correspondence,” the author and his novels merge, as do Barbauld‟s evaluations of Richardson‟s biographical and fictional narratives. Edgeworth thus shows himself a judicious 1. Anna Letitia Le Breton, Memoir of Mrs. Barbauld, Including Letters and Notices of Her Family and Friends (London, 1874), 94-5; my thanks to Elizabeth Heckendorn Cook for alerting me to this letter. From Richard Edgeworth‟s comment in the same letter that the Correspondence “came to our hands long after Maria had written to you” (92) it appears that the Edgeworths probably acquired the six volumes in August 1804: “long” after Maria Edgeworth‟s previous letter to Barbauld (22 July) but with enough time for the family to read “the greatest part of Richardson‟s Life and Correspondence” before Richard Edgeworth wrote to Barbauld (4 September), assuming that Le Breton‟s dating in the Memoir is reliable. -
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Truth and Conjecture: Forms of Detection in Eighteenth-Century British Fiction Rashmi Sahni Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 © 2015 Rashmi Sahni All rights reserved ABSTRACT Truth and Conjecture: Forms of Detection in Eighteenth-Century British Fiction Rashmi Sahni This study tracks tensions between different modes of knowledge in a body of eighteenth-century fictions centered around themes of detection and punishment of crimes, exemplary among which are Aphra Behn’s The History of the Nun (1689), Daniel Defoe’s Roxana (1724), Samuel Richardson’s Clarissa (1748), Henry Fielding’s Tom Jones (1749), and William Godwin’s Caleb Williams (1794). Focusing on crimes as varied as forgery, rape, and murder, this set of fictions raises important questions about eighteenth-century narrative techniques and formal elements. For example, why is the narrator of Aphra Behn’s The History of the Nun at once omniscient and limited? Why does the ending of Defoe’s Roxana seem abrupt and inconclusive? Critics struggle to find satisfactory answers to these questions because they often read intrusive narrators, abrupt conclusions, and disconcerting tonal shifts as stylistic faults or as ineptitude at realistic narration. I argue that formal peculiarities of eighteenth-century fiction about criminal investigation are in fact revealing narrative symptoms of an attempt to resolve conflicts between competing theories of knowledge rooted